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It’s been a while since Moby was known for pushing many musical envelopes, but push them he certainly has.

1996’s ‘Animal Rights’ saw the dance producer move into punk territories with electrifying results, and few can knock the amazing commercial and critical success that 1999’s on-ads-everywhere set ‘Play’ brought the New Yorker.

But for album number 11, ‘Innocents’, the man with the Melville middle-name has burdened listeners with a set of songs so innocuously dull that the nation’s coffee tables will soon be dying their hair and piercing their noses in protest. Assuming that your coffee table has these features in the first place. (What do you mean it’s an inanimate piece of wood?)

Moby’s attempts to paper over a demonstrable lack of songwriting inspiration with grand string arrangements and a sequence of guest collaborators only emphasises the tedium here.

Amongst those lined up: Damien Jurado on ‘Almost Home’, Cold Specks on the single ‘A Case For Shame’, and Mark Lanegan on ‘The Lonely Night’. The Flaming Lips’ Wayne Coyne appears too, and credit where it’s due for his track, ‘The Perfect Life’ (video below), impressing in so far as it makes even heroin use sound boring.